The Rosenkavalier has run like a lovely musical theme through my whole life in opera. Sophie was the first important rôle which was entrusted to me as a beginner. The conductor, Gustav Brecher, even considered letting me do the première in Hamburg. I think that was in 1911—the second year of my engagement there, but then he thought better of it and gave the part for the first performance to Elisabeth Schumann. She was dramatically much more talented than I, and in spite of her youth had already given evidence of her delightful gift for acting and her ripening artistry in several rôles; while I was still very much in the background and really nothing more than an ignorant and awkward beginner with a nice voice. Then too, Edith Walker, who sang and acted Octavian quite enchantingly, wanted Schumann as Sophie, for which I certainly couldn't blame her. But at the time I was bitterly disappointed and saw everything in a very false light. I felt persecuted and surrounded by intrigue—how I laughed later on over this ridiculous idea! Elisabeth's whole being is worlds apart from any intrigue; she has always been the best colleague one could imagine—a wonderful character through and through. And Edith Walker certainly had no ground for persecuting me with disfavour as the stupid little beginner imagined. She only wanted the performance to be as fine as possible, and so very wisely chose Elizabeth. But suddenly I found myself only the understudy, and sat through the stage rehearsals in the hall gnashing my teeth and comforting myself with the thought that I was the dramatic victim of a finely woven intrigue. Later, when Schumann was not available, I was allowed to sing Sophie and had a very nice success with it.